Second World War Posters

Mass Communications Academic, @MMUBS. British Home Front Propaganda posters as researched for a PhD completed 2004. In 1997, unwittingly wrote the first history of the Keep Calm and Carry On poster, which she now follows with interest.

Featured on Today's North East, I discuss my new book (with the Imperial War Museum), and the story of the Keep Calm and Carry On poster. Clip one features a short extract plus a conversation the station had with Stuart Manley from Barter Books. Clip two features my interview - extracted…

You may recognise some of the information in radio interviews from my blog post from yesterday, and from the MMU press release, but finally, later this month, my book Keep Calm and Carry On: The Truth About the Poster, is published by the Imperial War Musuem. Here's three live radio interviews…

In 1997, I first wrote about Keep Calm and Carry On as a side-note in my undergraduate dissertation. In 2004, it was once again mentioned briefly (when looking at the series it was created in) in my PhD on 'The planning, design and reception of British Home Front propaganda posters' at…

Dr Bex Lewis and Sarah Penney have been awarded funding for the ESRC Festival of Social Science (November 2017) for the following event, drawing upon Bex's original PhD research into British Second World War propaganda posters, and Sarah's current PhD research on nostalgic marketing. Keep Calm and Stay Nostalgic: why wartime…

The Immortal Life of Henrietta Lacks by Rebecca Skloot My rating: 5 of 5 stars It had been a long week at work, I wanted to turn my phone off, I was polyfilla-ing a wall - and I picked this up. I read it in the course of an evening…

Ernest Wallcousins was a renowned and successful painter and illustrator famed for his portraits of Sir Henry Wood, the conductor of the Proms for over 50 years, and for that of Sir Winston Churchill. Wallcousins worked across a wide range of medium and subjects; a book illustrator in the early…

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The story of Keep Calm and Carry On is largely one of the 21st century, rather than of the Second World War, when it was produced. Owen Hatherley uses the poster as a hook as he investigates the 'nostalgia' we have for 1940s, and use it to legitimise contemporary austerity. Hatherley…

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